From the Old World, we have folkloric pageantry of Scotland Yard and the Vikings.

The New World has challenged us to make radical new dioramas about consumerism defense (e.g., NATO).

The parameters of war and negotiation in a mercantilism-gauged world are defined by 'stomach-sensitivity.' He who has the most bread is king, which is why Hollywood (USA) makes films such as The Wolf of Wall Street.

If we want to understand the 'creative wizardry' of the electric modern age (e.g., Internet) and the new global free market (e.g., European Union), we have to understand the psycho-sociology of 'industrialization defense.'

How has ISIS and the Taliban affected the world view of 'mass production toys,' and what kinds of modernism-themed Hollywood (USA) films are offensive to fundamentalist Islamics?

No, you're absolutely right, but wouldn't you concede that recent trends in trade-related political decision-making (e.g., NATO) has brought a strange newfound appreciation for 'production philosophies' (if not Marxism)?

Manufacturing and production is changing everything, and perhaps even before the establishment of the FDA.

Marxism, or the idea of government-controlled economic production, is totally dead. It has been a brutal, deadly and dismal failure in every example known to history.

At this time in the world, there is only one doctrine of production and that is the neo-liberal form of capitalism (and its related forms of 'crony capitalism' or 'elite-capitalism'). There is no other known functional doctrine of production at this time, thus there is no debate, other than between 'neo-liberals' and everyone else who just hate neo-liberalism.

Michael, I think you're right, so I've reoriented my thinking to spin this subject towards a more 'pedestrian perspective.'

I'm a big fan of journalism-themed American films and how they contribute to 'political traffic' dialogue, so here's an action-pensive short-story about 'political foot-soldiers' (involving Muslim fundamentalism) titled News Days.

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A journalist named Jimmy, working for the New York Post starts to get too close to an incendiary story about political corruption involving America’s highest-level leaders forging profitable but ethically questionable liaisons with Taliban factions seeking to compete on the world stage with ISIS. Jimmy realizes his experiences are feeling like something out of an Alan J. Pakula film, but he can’t deny that the current global climate is ripe with terrorism reactivity. Jimmy reads his Captain America comic books and starts to feel like a superhero --- and he feels really anxious (and hesitant).

Meanwhile, in Saudi Arabia, the daughter of a powerful Muslim king is thinking of ways to break norms and help her country build more beneficial political contracts with America and the Western world. Her name is Aliyah, and she is more headstrong than her Muslim female peers who seek only to honor tradition. Aliyah feels very pensive about the ‘bad press’ her father has been receiving about being an ‘Uncle Tom’s Negro’ for America, betraying Muslim ideals. Aliyah decides that her defiant attitude towards the status quo has given her a special opportunity to create a new socio-political niche for Saudi Arabia. Aliyah decides to become an undercover member of ISIS.

Jimmy sips his Arabian tea in Saudi Arabia and thinks about the cooling breeze on an otherwise hot summer day in July. The year is 2017, and there is considerable press about the growing influence of ISIS and pockets of Taliban activity seemingly signifying another direction in fundamentalist terrorism. Jimmy is nervous about his upcoming interview with a Saudi Arabian intelligence officer who has information about the American President drawing up arms-contracts for the Taliban, and Jimmy starts remembering seeing the Afghanistan-intrigue Hollywood (USA) film Charlie Wilson’s War. Jimmy takes detailed notes during the interview with the intelligence officer and notes that President Trump has used the CIA to drive competitive spikes between ISIS and the Taliban. Jimmy feels a glimmer of hope.

Aliyah looks out her window and contemplates her recent phone call with a CIA defector named Stephen. Stephen has supplied Aliyah information for ISIS regarding the CIA’s covert operations seeking to undermine relations between ISIS and the Taliban. Aliyah scribbles something in her notebook about the New York Post journalist Jimmy (she can’t remember his surname) who has stirred up some media controversy with his series of stories about President Trump using the CIA to create tensions between ISIS and the Taliban. She decides she will find a way to contact Trump and deliver to him a simple message: “If America can ‘mingle’ with fundamentalist groups in the attempt to forge ‘contract dominions,’ then the time has come to consider the possibility that fundamentalist groups such as ISIS deserve their own territory, just as the Jews received (Israel) after WWII.”

President Trump is in front of the camera delivering a new message about the state of affairs between ISIS and the Taliban. He tells the American people that while the CIA has been working to ‘resolve’ matters between these two fundamentalist terrorist groups, developments have motivated the American government to consider ways to secure a Palestinian state to appease the human demands of Muslim fundamentalist terrorist groups. After his message concludes, he walks over and shakes Jimmy’s hand who is thrilled that civilization has used the press to achieve foresight. Jimmy can’t wait to go home and watch the Hollywood (USA) film Captain America: The Winter Soldier on Blu-ray disc.

Also, I wonder how much 'production mentality' indicative of the post-Industrialization era(s) of commerce/consumerism-explosion has contributed to pedestrian flowery regarding the figurative characterization of terrorism and political conflict --- such as war-comics (since you've posted a thread on World Discussion Forum about the 'Trump Regime').

Cobra Commander and Snake-Eyes, for example, are two terrorism-engaged field-combatants from the American paramilitary fantasy-adventure franchise G.I. Joe: A Real American Hero (Hasbro), which now includes full-length live-action Hollywood (USA) films.

We celebrate battles between Cobra Commander and Snake-Eyes to engage the masses about the 'accessibility' of terrorism/war dialogue in this age of commerce-catalyzed pedestrian 'activism' in political affairs and issues that suddenly interest countless people across the globe.

Did this begin with the advent of communication technologies (making 'social dialogue' more convenient)? It's a symbolic question I think in the age of CNN and Al Jazeera TV...

It would be interesting to track when world history scholarship became the domain of public-access oriented 'politics and terrorism themed pop-culture storytelling/art.'

In other words, are we being too cynical about the age of mass production? It's a question that may weigh heavy in this new 'Trump Regime' (thanks for your post BTW!).